LadyLushana: 2008-03-30

Saturday, April 05, 2008

Rabih on Allah vs "God": It's School, Stupid

great article Rabih!
[cannot wait to read his book. he gave us a taste of the novel at the RAWI conference (May 2007 at the Arab American National Museum in Dearborn, Michigan)

this U.S. tendency always made me insane. I taught in Dearborn and my colleagues kept talking about we should be inclusive of Muslims and their Allah versus the Christian God.
whhhhhhhat? oyyyyy This reminds me of how American idiots say "Madressa" with an ominious tone, butchering the pronunciation badly is enough, but then making is seem like Madressa means Islamic fundamentalist schools. hello, stupid. Madressa means school. neutral like house, dog, whatever. no religion. it should be considered a secular word.
more shit talk,
nayj


"Using English to separate the two has become a dangerous practice."
Los Angeles Times
By Rabih Alameddine
April 6, 2008
All living languages are promiscuous. We promiscuous speakers shamelessly shoplift words, plucking bons mots and phrases from any tempting language. We wear these words when we wish to be more formal, more elegant, more mysterious, worldly, precise, vague. They flash on our fingers like gaudy rings, adorn our hair, warm our necks like rich foreign scarves. They become our favorite trousers, the shoes we cannot live without, our way of describing illness to our doctors, declaring love to our lovers, formulating policies, doing business. We believe we own them and are frequently astonished to discover their original roots in another language.

English, a mongrel from the start, greedily helps itself to foreign words more than any other. The Oxford English Dictionary lists more than 500,000 of them, whereas German has about 185,000 and French fewer than 100,000, according to "The Story of English" by Robert McCrum, William Cran and Robert MacNeil. Give us your tired, your poor, your fabulous words yearning to be free. We'll take them.

English has always had a special fondness for other European languages, a neighborly soft spot -- perhaps because Britain has been invaded by speakers of those languages from the onset of its recorded history.

But not so much fondness for the languages of non-neighbors. Despite huge increases in immigration from Africa and Asia in the last 50 years, English has resisted adopting words from these continents, except for the names of certain foods. Think of Mandarin words that have come into the language. How about from Tagalog? ("Kowtow," "shanghai" and "typhoon" from Mandarin; "boondocks" and "yo-yo" from Tagalog.)

So whenever I come across an Arabic word mired in English text, I am momentarily shocked out of the narrative. Of course, English has pilfered numerous bits of Arabic -- "artichoke," "zero," "genie," "henna," "saffron," "harem," "tariff" -- but the appropriation was so long ago that few English speakers know the words' origin. These dictionary entries were probably introduced by the Moors into Spanish first, and then by the Spaniards into English.

What has Arabic done for us lately?

If we take away the familiar food pilferages ("hummus," "falafel"), words recently adopted from Arabic are all troublesome: "hijab," "intifada," "fatwa" and "jihad." For an English speaker, the first suggest humiliation, the last three violence.

In Arabic, the word "hijab" means any type of veil or cover. The American Heritage Dictionary defines it as "the head scarf worn by Muslim women, sometimes including a veil that covers the face except for the eyes." In Arabic, "intifada" denotes rebellion, a throwing off of shackles. Merriam-Webster's definition is an armed uprising of Palestinians against Israeli occupation of the West Bank and Gaza Strip. "Fatwa" isn't simply a religious decree; it's an Islamic religious decree. Even though a fatwa could be an exhortation by, say, a Moroccan cleric to raise literacy for women, in English, it is used almost exclusively in reference to the ignominious Salman Rushdie affair, in which former Iranian leader Ayatollah Ruhollah Khomeini ordered the death of the novelist because of Rushdie's alleged blasphemy in his novel, "The Satanic Verses."

And "jihad" comes from the word "excel," juhd or ijtihad in Arabic. It means a holy war or righteous struggle. Some schools in the Middle East, religious and secular, will hold jihads -- or special intense programs to get students to accomplish something -- to improve math scores and raise reading levels. Although most English usage I've come across refers only to an Islamic holy war, I have begun to see "jihad" as a synonym for crusade (originally a Christian holy war, broadened now) and a vigorous fight against something. In other words, jihad, this English word, might one day encompass its full Arabic meaning.

English has yet to incorporate these words fully, and history suggests it might never do so. The language is filled with words that are culture specific: "sahib," "coolie," "effendi," "bey." The word "emir" simply means prince in Arabic, but in English it is a prince or ruler of an Islamic state. When my sister in Beirut tells her daughter a bedtime story, the emir kisses the sleeping princess awake. No mother in the U.S. or Britain would let an emir anywhere near a princess' lips. No princess will ever sing "Someday My Emir Will Come."

That in some ways is how it should be. Language, after all, is organic. You can't force words into existence. You can't force new meanings into words. And some words can't or won't or shouldn't be laundered or neutered. Language develops naturally.

I bring all this up, however, to get to the word whose connotation I would love to see changed -- "Allah."

Allah means God.

In Arabic, Muslims, Jews, Christians and Zoroastrians all pray to Allah. In English, however, Christians and Jews pray to God, and Allah is the Muslim deity. No one would think of using the word "Allah" to talk about any other religion. The two words, "God" and "Allah," do not mean the same thing in English. They should.

This isn't about political correctness; it isn't about language distortion. Altered or incomplete usage of words is natural, even amusing. "Confetti" in its original language means little bonbons or small sweets. And incomplete usage is at times explainable and logical. The words "beef," "pork" and "mutton" arrived with the Norman invasion. They refer solely to the meat, never to the animal, whereas in the original French they refer to both (mouton is both sheep and mutton). That is primarily because French was integrated into the language of the upper classes, which ate the meat, and less so that of the farmers, who raised the animals.

God, however, is a big deal. The word for God matters quite a bit more than what lands on one's table for dinner at night. We never say the French pray to Dieu, or Mexicans pray to Dios. Having Allah be different from God implies that Muslims pray to a special deity. It classifies Muslims as the Other. Separating Allah from God, we only see a vengeful, alarming deity, one responsible for those frightful fatwas and ghastly jihads -- rarely the compassionate God. The opening line of every chapter in the Koran is "Bi Ism Allah, Al Rahman, Al Rahim": In the name of God, the Gracious, the Merciful. In the name of Allah. One and the same.

The separation is happening on all sides. This year, the Malaysian government issued an edict warning the Herald, a weekly English newspaper, that no religion except Islam can use the word Allah to denote God. No such edict, or fatwa for that matter, is needed for the New York Times: a quick search through the archives shows that Allah is used only as the Muslim God.

In these troubled times, creating more differences, further parsing so to speak, is troubling, even dangerous. I suggest we either not use the word Allah or, better yet, use it in a non-Muslim context.

Otherwise, the terrorists win.

One nation under Allah?

Rabih Alameddine is the author of the novel "The Hakawati," due out this month.

Thursday, April 03, 2008

checkpoint 303

Please join us for the second artist's talk/performance of the Spring quarter. Checkpoint 303, sound artists working between Palestine, Tunisia, and France will speak about their work and and do a performance at Warner Graduate Studios on April 11th at 6pm.

Please come and bring your friends to this very special event!

Checkpoint 303

April 11th, Friday, 6pm

Warner Graduate Studios

8535 Warner Drive

Culver City, CA 90232

--------------------

CHECKPOINT 303

Artist Statement (see attached bio)

Checkpoint 303 (Palestine/Tunisia/France) is a non-profit avant-garde activist sonic project launched in 2004 by sound-catcher SC Yosh (Palestine) and sound-cutter SC MoCha (Tunisia). Checkpoint 303 creates experimental electronic music that aims at raising international awareness about the ongoing injustice and suffering of the civilian populations throughout the Middle East and especially in the occupied Palestinian territories. Checkpoint 303 combines field recordings performed in Palestine with electronic beats, FX and subtle oriental tunes.

The band's recent live shows included electronic performances as supporting act for UK trip-hop band Massive Attack in a series of benefit shows in the UK in February 2007 (Birmingham and London's Brixton Academy) as well as numerous live concerts in France, Sweden, Belgium, Tunisia, Canada, The Netherlands, Palestine (including East Jerusalem and West-Bank cities of Ramallah and Jericho), etc.

Through its compositions, collected sounds and noise, Checkpoint 303 spreads a message of peace and a call for the respect of human rights. Contrasting with the mainstream media's exclusive depiction of violence and suffering in the middle-east, CP-303's sound collages also report on the heroic hope that subsists in the region as well as the seemingly banal but ever so meaningful little things that make up daily life in Palestine and that embody a daily search for normality in a state of emergency.


PRESS CLIPPINGS:

Rabih Alameddine: Hakawati

I, the Divine: A Novel in First Chapters

I, the Divine: A Novel in First Chapters

by Rabih Alameddine - Fiction - 2002 - 320 pages
Named After the "Divine" Sarah Bernhardt, red-haired Sarah Nour El-Din is "wonderful, irresistibly unique, funny, and amazing, " raves Amy...

Koolaids: The Art of War

Koolaids: The Art of War

by Rabih Alameddine - Fiction - 1998 - 245 pages
Detailing the impact of the AIDS epidemic and the Lebanese civil war in Beirut on a circle of friends and family, "Koolaids" tells the stories of...

The Perv: Stories

The Perv: Stories

by Rabih Alameddine - Fiction - 1999 - 208 pages
Daring in style as well as content, these tales explore the relationships that anchor
our hearts to the world -- father and son, grandson and grandmother,...
No preview available - About this book - Add to my library

Koolaid's Art of War

by Rabih Alameddine, Alammedine - Fiction - 1958
No preview available - About this book - Add to my library

Hakawati

by Rabih Alameddine, Pan Macmillan - 2008

Inclined to Speak

A New Anthology of Arab American Poetry PDF Print E-mail
Written by RAWI Webmaster
Mar 30, 2008 at 05:20 PM

Inclined to Speak: An Anthology of Contemporary Arab American Poetry
Edited by Hayan Charara
(RAWI member)

The most important Arab American poets of our time

“Poetry’s work is the embodiment of individuality, to give form to the singular stuff of subjectivity. By speaking from the vantage of the personal, the poet lends specificity and depth to the collective, complicating the categories, making different lives real to readers. Hayan Charara’s rich anthology of Arab American poetry in this moment couldn’t be more timely; this
book opens eyes, opens worlds.”
—MARK DOTY, author of Fire: New and Selected Poems

Inclined to Speak is one of the most fruitfully diverse anthologies I have read in years, as its wealth of origins might lead one to expect. Here are poets in the high tradition of international Modernism, inheritors of Neruda, Hikmet, Celan, Ritsos and Darwish, who also deploy American poetry’s plural possibilities, drawing from the same sources as Stevens, Oppen, Rukeyser, Brooks, Ginsberg, Rich. Some of these poets can think and sing in more than one language: they all can think beyond monoglot frontiers.”
—MARILYN HACKER, author of Essays on Departure: New and Selected Poems,
1980-2005

Inclined to Speak, especially in this Time, Place & Condition, when most of “The Free World’s Foreign Policy” consists of Lies, Slander & Invasion is like Wolfbane when you hear the werewolf howling. It opens the door to a world breathing like our own, but adding dimensions that deepen our understanding of where we are and what time it is, that are immense, dreadful
and wonderful.”
—AMIRI BARAKA, author of Somebody Blew Up America and Others Poems


“In Inclined to Speak, Hayan Charara has brought together some of the finest American poets who also draw on the powerful sense of what it means to be Arab-American in the twenty-first century. These poems are a kaleidoscope of stories, visions, memories that offer a kind of transcendence we so desperately need right now. This is a marvelous collection that gives readers room to breathe, to fly, to wonder and to cry.”
—PERSIS KARIM, editor and contributing poet, Let me Tell You Where I’ve Been:
New Writing by Women of the Iranian Diaspora

ABOUT THE BOOK
At no other time in American history has our imagination been so engrossed with the Arab experience. An indispensable and historic volume, Inclined to Speak gathers together poems, from the most important contemporary Arab American poets, that shape and alter our understanding of the Arab American experience. Impressive in its scope, this book provides readers with an astonishing array of poetic sensibilities. Whether about culture, politics, loss, art, or language itself, the poems here engage these themes with originality, dignity, and an unyielding need not only to speak, but also to be heard.

Here are thirty-nine poets offering up 160 poems. Included in the anthology are Naomi Shihab Nye, Samuel Hazo, D.H. Melhem, Lawrence Joseph, Khaled Mattawa, Mohja Kahf, Matthew Shenodah, Kazim Ali, Nuar Alsadir, Fady Joudah, and Suheir Hammad. Charara has written a lengthy introduction about the state of Arab American poetry in the country today and
short biographies of the poets and provided an extensive list of further readings.

Inclined to Speak: An Anthology of Contemporary Arab American Poetry
6 x 9, 328 pages
$24.95 paper
ISBN 978-1-55728-867-7 / 1-55728-867-4
$59.95 cloth
ISBN 978-1-55728-866-0 / 1-55728-866-6


ABOUT THE EDITOR
Born in Detroit, Michigan, to immigrant parents, Hayan Charara studied English at Wayne State University in Detroit, cultural theory at New York University, and literature at the University of Houston. Widely published in journals and anthologies, including American Poetry: The Next Generation and Present/Tense: Poets in the World, and Language for a New Century:
Contemporary Poetry from the Middle East, Asia, and Beyond
, he is the author of two collections of poetry, The Alchemist’s Diary and The Sadness of Others, which was nominated for the National Book Award in 2006. He has taught at colleges and universities for more than ten years and currently lives in Texas, where he is also a woodworker.

FROM THE ANTHOLOGY

Morning Ritual
By Fady Joudah

Every morning, after the roosters
Crow back whatever prayers were passed
Down to them that dawn
From the keeper of their order up in heaven,

I drink my coffee
To the sound of squealing pigs
Being bled to death
In the market up the road—the same market

Where I buy my fresh bread
For my peanut butter and jam. The pigs
Are bled through an armpit wound.
You can see it coming throughout the day before,

Hogs tied sideways to the backs of bicycles,
Tight as a spine, going as far as the border
Where the price is right. You will pass them
On the asphalt to the town I get

The peanut butter and jam from. They know
The bikeways out of nowhere
And suddenly they’re alongside your jeep.
I lie: only goats are taken to the border.

The goats are bled differently,
And skinning is harmless after slaughter:
All you do is a vertical skin-slit
Between the shinbone and Achilles’ tendon,

Stick a thin metal rod
Through it, up the thigh, pull it out
Then blow, mouth to hole,
Until your breath dehisces

Fascia and dermis, reaching the belly:
Your hands
Should even out the trapped air.
Between blowing and tapping

The animal is tight as a drum.
Now the knife that slit the throat.
Who knows
What you’ll need skin for.

Last Updated ( Mar 30, 2008 at 05:25 PM )

Language for a New Century

W.W. Norton & Co announces the release the much anticipated:

Language for a New Century:

Contemporary Poetry from the Middle East, Asia , & Beyond,

Edited by Tina Chang, Nathalie Handal and Ravi Shankar

Foreword by Carolyn Forché.

Come celebrate with us on Friday, April 25th, 2008, 7:00 pm to 10:00 pm

at The Rubin Museum , New York City

Arab American History Conference

Hello everyone,

I wanted to let you know that we are accepting paper proposals for the 3rd Arab American History Conference, jointly sponsored by the Arab American National Museum and the Arab American Historical Foundation to be held on Nov. 1, 2008 at the AANM in Dearborn .

The website for the conference is http://www.arabamericanmuseum.org/Arab-American-History-Conference.id.468.htm.

I have also attached the flyer for the call for papers. If you could pass on this information to any person, group, listserv etc. that might be interested in submitting a proposal for this conference, as well as post this in areas where it might get high interest, I would greatly appreciate it. Please don’t hesitate to contact me if you have any questions.

Thank you very much,

Tara L.S. Fritzler

**************************

Tara Lannen-Stanton-Fritzler

Managing Librarian

Arab American National Museum

Library & Resource Center

(313)624-0224

tlsfritzler@accesscommunity.org

http://www.arabamericanmuseum.org/

make/shift: issue number 3 is out

i have an interview w/ Neelam Sharma from Community Services Unlimited.

check out this great magazine...

**Issue 3: Out Now!
**Upcoming Event: Butchlalis de Panochtitlan at USC, 4/11 and 4/12
**Subscribe Online

ISSUE 3: OUT NOW!

The new issue of make/shift is out now—do you have it yet?

Issue 3 features interviews with Eric Stanley and Chris Vargas (Homotopia), Mia Mingus, and Alexis Giraldo; new fiction by Masha Tupitsyn; a political memoir by Mariana Ruiz Firmat that links environmental justice to reproductive health; and an open letter to white feminists from Jessica Hoffmann. Plus, brownfemipower calls for creative alliances through shared criminality; Daria Yudacufski conducts Malaleche’s last interview as a collective, and Jessica Lawless weighs in on the Gendercator controversy. As always, there are new columns by Randa Jarrar, Erin Aubry Kaplan, Nomy Lamm, and Mattilda Bernstein Sycamore, as well as extensive book, film, and event reviews.

Find out which independent bookstores in your area carry make/shift at http://makeshiftmag.com/where_to_buy.htm.

Or order directly from us: http://makeshiftmag.com/subscribe.htm.

Gender of "Terror"

May 2, 2008
Gender of "Terror"
9:15am to 5:30 pm
California Room, UCLA Faculty Center

Co-sponsored by the Division of Humanities; the Division of Social Sciences; School of Theater, Film, and TV; Department of Anthropology; Asian American Studies Center; Department of Asian American Studies

The conference is free and open to the public. Lunch is $10 and requires
preregistration and prepayment. Those interested in attending the lunch
should RSVP to Jessie Babiarz at jbabiarz@women.ucla.edu, by Friday,
April 18, and send a check for $10, made out to: UC Regents, by Friday,
April 25. Our mailing address is:

UCLA Center for the Study of Women
Attn: Gender of Terror Conference Lunch
1500 Public Affairs Bldg
Los Angeles, CA 90095

Mail Code: 722203

VIEW CONFERENCE SCHEDULE

GETTING TO UCLA/PARKING

INFO FOR PANELISTS and RESPONDENTS

Wednesday, April 02, 2008

divas, divers, dumpsters: don't go there

ignore me, this post
no coherence
nothing about affective communities
it's about the dysfunctional non communities that exist in many departmental pockets.....
__________________

some book projects are deemed "second books" and that is a not so subtle euphemism for "don't write that until you have tenure"

i did not dread coming back to grad school b/c i felt like a new beginning and a new program (not another English dept basically), so i was all good about it. still am feeling good about department, student, colleagues and professors. just recently been having kind of a panic attacks about what i might write for my larger project or the diss. I had intentions to write about arab americans and i will, but i keep having haunting of past shit that compels me to write about it b/c it does MATTER in material ways w/ aesthetic and political consequences.

who bothers me?

  • academic divas
  • sanctimonious fuckers who think that their politics are the only way
  • white anthropologists who raider communities of color and publish tenure books, gain big name at tier 1 universities, and mock those who are not in prestigious institutions w/ 50 page CVs
These are gripes from my past. i need to get over it. i need to calm the fuck down. I had a little bit of a break down today. we talked about Bettie's Women w/o Class and hated the book. It isn't as exploitive as many ethnographies that i have read but my hysteria (45 minutes of nonstop crying) were not about the book; it was about my own experiences w/ academic violence and violations, the way that ethics can be arbitrary and gain purchase discursively. Manipulative and evil people who fuck over their grad students, who abuse people their are close to get ahead ARE manipulative and evil and they 'win'.

lawyers are scum. there are lots of scum at the bottom of the dumpster -- i have never been a diver or a diva. i don't want to be s cum. i don't have to be scum to get ahead. i can treat people w/ decency and respect and still do all that i want to do. why am i getting it all twisted?

today is an anniversary. i need to mark a loss and my BFF in Michigan says i should mark the date but thinking of something that is positive that i will accomplish for next year.

here's what i texted her:

i will not let anyone fuck me over in the next year
i will not let myself fuck around unnecessarily ( i can have fun but not waste time that should go towards work)
i will not fuck up in terms of my labor and the things that matter to me: writing, breathing, friendships

meditating on my affective communities, friendships, and networks that do and will sustain me.

Suad Amiry at UCLA

No Sex in the City:
Personal Accounts of a Generation
of Women in the PLO



Lecture by

Suad Amiry
Director of Riwaq: the Centre for Architectural Conservation, Palestine



Tuesday, April 8, 2:00 pm
Bunche Hall 10383





Suad Amiry
is the Founder and Director of Riwaq: the Centre for Architectural Conservation, a non-profit organization dedicated to preserving and restoring Palestinian buildings. She participated in the 1991–1993 Israeli-Palestinian peace negotiations in Washington, D.C., and later served as the Assistant Deputy Minister and Director General of the Ministry of Culture in Palestine. She is also the author of Sharon and my Mother-in-Law: Ramallah Diaries (2005), which has been translated into 11 languages, and was awarded the prestigious Viareggio Prize in Italy.

She will discuss her new book, No Sex in the City, as yet published only in Italian.



Sponsored by the Center for Near Eastern Studies

WORD ART in LA

Featuring

Writers and Poets

Fumilayo Bankole * Cassandra Love

Food4Thot * Paul Mabon

click on the artist name/photo below to learn more
And Musical Artist
Hillard Street





Fumilayo Bankole

april poet

purple umbrella

poet

Paul Mabon

poet


Hillard Street

A vocal-acoustical guitar Artist

poet

Hillard Street is a singer's singer. The blending of talents...a vocal-acoustical guitar artist who appeals to the ear, and not the decibel; he creates incandescent ambience. He has earned praise a world-wide for his vocal stylings. Mr. Street's repertoire spans the globe and ranges from contemporary to rock, jazz, gospel to calypso, and from spanish to hebrew. He a true professional with appearances on television and a major record label. Welcome to the world of Hillard Street
626 Word-Art is Produced by 626 Art Gallery at Studio B and Conney Williams
626 Art Gallery at Studio B, LLC is a Charles Bibbs, Elaine Bibbs, Cheryl Rentie Partnership
dedicated to the service of Fine Art Collecting and
the Preservation of African American Fine Art.



Parking

Street Parking after 6pm is ok Free Meter after 6pm. Small parking Lots in and around the area Averages $5.00 No Street Parking Weekdays between 4pm - 6pm

purple umbrella

Where www.626ArtGallery.com meets www.626reserve.com

The Barber of East L.A.

The Barber of East L.A.

Visions and Voices: The USC Arts & Humanities Initiative

Friday, April 11, 2008; Saturday, April 12, 2008

University Park Campus
Ground Zero Coffeehouse

Free. RSVP is requested. To RSVP for Friday, April 11, click here. To RSVP for Saturday, April 12, click here.


Don’t miss the first full-length production by Butchlalis de Panochtitlan, a sketch-driven, multimedia ensemble that explores stories of love, loss, work and play in L.A.'s queer-of-color communities.

Friday, April 11, 7-9 p.m.

Saturday, April 12, 6-8 p.m. (The opening of the Hector Silva Retrospective will follow).

Butchlalis de Panochtitlan (BdP) explores the queer-of-color neighborhoods of Los Angeles and its suburban peripheries. In The Barber of East L.A., directed by MacArthur Fellow Luis Alfaro, the furious foursome calls Chicano history into question while tipping its hat to the Chicano punk scene and the rise of such grassroots spaces as Self Help Graphics. Framed historically by the Chicano Moratorium against the Vietnam War, the death of Ruben Salazar and the impending election of Ronald Reagan to the White House, The Barber of East L.A. weaves outsider narratives into a striking tapestry and honors BdP’s predecessors by sharing these local histories as they collide with mainstream and underground records.

The event will be presented as part of the series "Records y Recuerdos: Music and Memory in Queer in East L.A." Additional events include:

Organized by Karen Tongson (English and Gender Studies) and Raquel Gutierrez (Center for Feminist Research). Co-sponsored by the One National Gay & Lesbian Archives, the LGBT Resource Center, the Popular Music Project at the USC Norman Lear Center and Make/shift Magazine.
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